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THE 

EMBROIDERY 
GUIDE 

by Helen Marvin 




Cci.A^soi ; 



s\ 



;TheEmbroidery Guide 



IT is delightful that we were able to gather together the 
charming designs used in our lessons. They are so new 
and unusual and so thoroughly artistic — the very best 
and choicest, selected from the loveliest designs of the sea- 
son. And, best of all, perforated patterns ot all the designs 
and a stamping outtit go with the book, so that each design 
can be used, not once or twice, but hundreds ot times. The 
designs cover all kinds of embroidery, and the lessons include 
all the important stitches, which means that those of you 
who have never known how to take the first stitch will be able, 
with the assistance of this book, to make the handsomest 
embroideries in the world. For these stitches not only are 
necessary to the designs given, but they may be used for 
thousands of other things, all ot which is told about in our 
lessons. The patterns, too, can be used in a great many 
other ways. If one wishes to embroider a small spray and 
the leaf is at one end of a large pattern and the bud at the 
other, stamp first the leaf, then the bud, joining them on the 
stems. A straight pattern may be turned atter part is stamped, 
to form an angle. Parts of one pattern may be stamped on 
parts of another, thus providing patterns for an infinite num- 
ber of purposes. Used in this way the pertorated sheets present 
hundreds of patterns, with variety enough to fill the require- 
ments of the average needlewoman for her entire lifetime. 

He /en Marvin. 



Published bv 

Woman's Home Companion 

Madison Square, New York City 



Copyright, 1910. by Crmvell Publishing Co. 



Page Two 



SON 



O N 



An Attractive Sofa Pillow Design 

With Instructions for working Outline Stitch, 
Flat English Embroidery, and the French Knot 

WE ARE very fortunate, indeed, to secure so new and handsome a design for our 
first lesson as this sofa pillow. It is very seldom that such a beautiful and simple 
pattern can be obtained, for it is a most unusual one, in excellent taste and very harmonious 
in color and design. 

Though we are applying this beautiful design to a sofa pillow, it may be used on 
many other pieces. And as the patterns can be used not once, but a hundred or two 
hundred times, I feel as though we were starting a half dozen or more pieces. 

Lesson I 

Rough, natural-colored linen is used for the sofa pillow. Of 
course other materials may be chosen instead, but one must be 
careful to avoid anything that is soft and loosely woven, be- 
cause a close firm texture is needed upon which to work the 
French knots at the centers of the blossoms. If you think for 
a moment you can readily understand how the knots would slip 
through the threads of a loose material, and this is a good point 
to remember in starting any piece of work in which there are 
French knots. 

The gray, neutral color of the material is quite as important 
as the texture, for none but an indefinite tone would be suitable 
for the design, which copies the art of the Renaissance with its 
dull, low toned colors. So use material close in texture, either 
gray-brown or gray -green in color. 

The design (No. 15 on Sheet 4 of the Perforated Patterns) 
is a conventionalized tulip, the national flower of the Dutch. 
It suggests the best period of Dutch needlecraft, and it is fitting, 
therefore, that the method of embroidering should belong to 
that period also. 

Proper Use of an Before starting to embroider, the piece 
„ , ., _ must be stretched on a frame. A 

Embroidery Frame ^^^^^^ j^^^^ j^ ^^^^ ^ ^-^^ -^ ^„_ 

satisfactory, because in it the material cannot be drawn tight 





French Knnl5 



Flat English Embroidery 

enough for the kind of embroidery which is to be done. The 
standing frame is the easiest to manage, but unless considerable 
embroidery work is planned, it hardly pays to get one. A 
small square frame which can be leaned against a table will 
answer every purpose. Tack a piece of broad linen tape or 
a double fold of muslin along the thick sides of the frame 
and sew opposite edges of the pillow piece to them. Then 
stretch the frame. Put pins at regular intervals along 
the two unfastened edges of the pillow piece and twist cot- 
ton cord around them and over the thin sides of the frame, 
that the piece to be embroidered may be drawn as tight as a 
drum head. 

The embroidery is done with Turkish floss. The border is 
made of three rows — two rows of outhne stitch done in black, 
and another row of Japanese thread. 

In working on a square frame both hands are used. The 
left hand is kept under the frame, the right hand above it, and 
one hand passes the needle through the material to the other 
hand. It may seem awkward at first to work with both hands, 
but a little practice makes perfect and saves a good deal of 
energy and time. 

O t1' St't h Outline stitch, which is used for the border, 

' is the simplest form of embroidery. In this 

piece the simple outline stitch is used. This is nothing more 



L E S 



O N 



ONE 



Page Three 



French Knots 



than the backstitch of sewing, with the thread always brought 
up to the left of the last stitch. 

The Japanese thread is sewed down with tiny stitches taken 
straight over the Japanese thread about one-fourth inches 
apart. Yellow sewing silk is used. The ends of the Japanese 
thread are pulled through to the wrong side in a hole punched 
for the purpose, and sewed down securely. 

Let us ne.xt make the centers of the tulips 
which are entirely of French knots. One 
knot is made directly ne.\t to the other, overlapping almost. 

The upper left- and the lower right-hand tulips are worked 
with three shades of a 
soft wood -brown, and 
the other two tulips are '' . , 

in three shades of old 
pink. Be sure to keep 
the tones as soft and 
dead as possible. Bright 
colors would spoil the 
effect. The French knots 
are made of all three 
shades of a color, and the 
picture of the pillow may 
be followed in placing the 
shades. 

Before telling you 
how to make a French 
knot, let me mention 
the fact that whenever 
possible all knots to 
start the threads of em- 
broidery should be avoid- 
ed. Instead take two or 
three stitches to fasten 
the thread in the part of 
the material to be cov- 
ered with the embroidery 
stitches. This is both 
more secure and neater 
than a knot would be. 

To make a French 
knot, after fastening the 

thread take a stitch up to the right side. Now twist that part 
of the thread which is ne.\t to the Hnen around the needle 
three or four times, with the point of the needle away from the 
linen as shown in detail No. i. Then turn the needle and pass 
the point of it down in the same place with the stitch last 
taken through the material, as shown in detail No. 2. Hold 
the twists ilown against the material and draw the working 
thread tight. This forms the French knot. 

The sides of the tulips are worked in what is 
p , . J known as flat English embroiderv-, although 

limDroiaery E„giisj, embroidery rarely is shaded. In flat 
English embroidery the work is done solid, but unlike the 
Kensington work (which is composed of a number of short 
stitches, described later) here the stitches are taken straight 
from one side to the other, or slightly slanting. To avoid 
a great waste of silk, the stitches are not crossed from one 
edge to the other on the wrong side, and the thread comes up 
to the right side in a small stitch close to the stitch last 



Shading 




Designtd by M. Hftnit 



Fiat English 



taken. Be very careful to have the stitches even — one taken 
close to the other without overlapping, so that they lie flat 
and smooth, and parallel. Do the sides of the tuhps in this 
way, following the picture for the shades to be used. 

The dots on all four tulips are worked in the 
shades of brown. They are done in the raised 
satin stitch, which is in reality one of the stitches used 
mostly in white French embroidery, but which also appears 
in colored work. The dots are filled in with some straight 
stitches that cross from one side to the other, but are taken not 
quite to the edge. Across these stitches then are taken 

other stitches, working 
from one edge to the 
^---'''^^ other in English embroid- 

er>' just as the sides of 
the tulips were made. 

The leaves and the 
stems of the pattern are 
worked with three shades 
of green, and, for the 
placing of the shades, 
again follow the picture. 
They are worked hke the 
sides of the tulips in 
English embroidery 
stitch, but in the leaves 
there is a center vein to 
which the stitches from 
each side are taken. It 
is like a break in the 
stitches rather than a 
separation of two stitches, 
for the stitches are slanted 
in the same way and do 
not meet in a point, as in 
Kensington work. 

In making the pillow 

have the back of the same 

material as the front, and 

1 ,iiun have the edge seams 

waj'a- somsiitc^. without finish. A cord 

or ruffle would spoil the 
beauty of the pillow, would mar the purity of its art. 

Other Uses for the Stitches 

The stitches used in this design will help the worker in many 
other things. They are used to embroider underwear and dresses, cen- 
terpieces, both white and colored; scarfs, collars, belts; French, English, 
Madeira and all kinds of embroidery, from the simplest to the most 
elaborate. So the beginner can readily understand how, when she 
has learned the stitches told about in this lesson, she will be able to 
work, not only this sofa pillow, but a great variety of other pieces. 

Other Uses for the Design 

This design would be lovely for the ends of a scarf for a library 
table, for a work bag, or for a wall pocket. Or ten single sprays 
could be worked in a circle, with the stems running toward the 
center, to form a beautiful and unique between-meals centerpiece. 

The Perforated Patterns 

The design for tlie sofa pilknv will tie found on Sheet 4 Per- 
forated Patterns. The design is No. i;. 



Page Four 



O N 



1^ W O 



Three Charming Eyelet Designs 

Handsome New Patterns tor a Centerpiece 
and Two Handkerchiefs, in Eyelet Work 

EVERY WOMAN who loves embroidery, whether she understands eyelet work or not, will 
be interested in this garland design for an eyelet centerpiece — a design as unique as it 
is new, and by far the loveliest for an eyelet centerpiece I have ever seen. It is not only be- 
cause the pattern in itself is so charming, but because it is planned to be particularly effective 
on a highly polished table, where the gleaming wood would peep through and make doubly 
artistic the clean-cut motifs of the design. Nor would we want to miss the handkerchief pat- 
terns, for they are particularly sweet and dainty. A half dozen handkerchiefs made with these 
patterns would involve but little work, yet what an acceptable gift 'they would make, tied 
about with a bit of baby ribbon and laid in a perfumed box. 



Lesson H 

I wonder how many know where eyelet work originated? 
It came first from the Madeira Islands, where the humble 
peasants, with their coarse hands, made and are still making 
the most beautiful specimens in the world. Because of them 
it is called Madeira embroidery, and only after it had drifted 
to England was it renamed and known as English eyelet work. 
So when you hear of eyelet work or Madeira embroidery, you 
will know they are the same excepting in quality, for the Eng- 
lish work is coarser in every way than the Madeira. The hand- 
kerchiefs and centerpiece we have for this lesson are in Madeira 
embroidery, ..o you can realize how really beautiful they are. 

The handkerchiefs must necessarily be fine, and for them 
you must take the finest quality of handkerchief linen, and 

work them with a 
fine embroidery 
cotton. Use a 
mercerized cotton, 
for that always is 
taken for Madeira 
work. Take one 
of the soft twisted 
mercerized lustre 
threads. 

The work may be 
done in the hand, 
without any em- 
broidery ring or 
frame. It looks 
ttcr when worked 
in this way, and a 
ittle care will pre- 
vent all puckering. 
T h e scallops are 
row of running stitches 




the first to be made. Put 



over each of the stamped lines, and between them put in 



another row. This gives the foundation for the scallop, or 
the padding, as it is called. Cover the padding with 
buttonhole stitches. Be sure that the stitches are exactly 
parallel with the edge, and that they neither overlap nor 
let the linen show between. Draw some scallops and experi- 
ment on them a little to be sure you are just right before you 
go ahead with the handkerchief, for, of course, you want your 
work just as perfect as it is possible to make it. 
„. ,. In eyelet work the ordinary outlining 

°. stitch never should be used, although many 

aatin otitcn ^^ ^gg jj. ^^ s,a.ye time. But in our work we 

do not want a makeshift, or something which spoils the entire 
effect. So the stems will be made as they should be — in slant- 
ing satin stitch. 

Run the stems as you did for the padding of the scallops; 
here there is only 
one line to be 
covered, and there- 
fore only one row 
of running stitches 
is put in. Cover 
these stitches with 
slanting sat'n 
stitches. They are 
worked much like 
the button-hole 
stitches, but with- 
out the button- 
holed edge; and in- 
stead of taking the 
stitches straight, 
you must take 
them slightly slant- 
ing. Be sure to keep 
them even and 

parallel, with no overlapping and no s[)aces between, 
is just as important here as in the buttonholing. 




Bow-knot Design fn 



This 



S S O N 



w o 



Page Five 



Right Way to 
Work Eyelets 




In the handkerchiefs two kinds of eye- 
lets are used, but there is really no differ- 
ence in the way they are worked. There 
is a slight difference in the way the hole should be cut, and of 
that I shall tell you when the time comes. Begin by running 
the stamping lines just as you have been doing. Make them 
quite small, so that the eyelet is well rounded, then cover with 
a stitch whipped over each running-stitch on the right side. 
This gives more body and also a more even outline. 

Now cut the holes. Do not use a stiletto. A small, sharp 
embroidery scissors is the thing for the purpose, and if you have 
none, it is as well to get 

one right now, for it is —y^'^' 

indispensable to anyone '~' 

who wishes to do good / •;;'«!•♦'• 

embroidery. For an oval .^^^^^~ 

eyelet, make a long cut J 

down the center and a ) -Clf;., 

shorter cut across it. i !;' 

For a round eyelet, a 
cross of two cuts of the 
same length is made 
inside the eyelet, and 
this difference in cuts is 
the only difference in the 
working of the eyelets. 

After you have cut the 
eyelet, turn the edges 
under, back to the out- 
lining, and finish the 
eyelet by working over 
and over the outlining 
and the edge. To keep 
these stitches very even 
is important, and I want 
to call your attention to 
the fact that in order to 
do so the stitches must 
be kept closer on the 
open edge than they are 
on the outside of the eye- 
let. On the open edge 
they must be almost, but 
not quite, overlapping. 

The bow knot and the solid leaves of the designs are worked 
in slanting satin stitch like the stems, but as they first must be 
covered entirely with running stitches, more rows of the latter 
are put in. Put in a row on each stamped line, and fill the space 
between with as many rows as are required. Then cover with 
the satin stitch. 

The dots which form the centers of the blossoms and the 
inner crescent of the horseshoe design are made by taking two 
back stitches across the stamped dots, to act as a padding, then 
across them, working two other back stitches. 

Let us now turn our attention to the centerpiece. 
The design is exquisite, and quite as lovely as those 
for the handkerchiefs, and it must be worked with a 
fine mercerized cotton on linen that is as fine in quality 
as that of the handkerchiefs, although not so sheer. Get 
pure linen. You will be more than repaid for the few- 



cents extra which it will cost by the difference in appearance 
and wear. 

Right here I wish to say something about linens, and 

that is, buy linen which is called pure linen, and not pure 

Irish linen. Irish linen is the trade name for a material 

that is partly cotton and partly linen, and it is foolish to 

spend the time you mean to upon this centerpiece if your 

materials are not of the best. When a few cents more for 

materials and a few hours more for the work mean an 

infinitely lovelier centerpiece, surely we w-ill not begrudge 

them. So get for your centerpiece a fine, close linen, and 

work it with a fine 

sized mercerized cotton; 

then, if your stitches 

are taken carefully, 

your work will be lovely 

enough to be handed 

down as an heirloom. 

Aside from these words 
about materials, I do not 
believe there is anything 
else to tell about the cen- 
terpiece, for the stitches 
are like those of the hand- 
kerchiefs. But in work- 
ing the wreaths do not 
forget the dots each side. 

Other Uses for These 
Stitches 

There are a great many 
other uses for the stitches 
taught in this lesson, and 
when you have learned 
them you are not only able 
to make these pieces, but a 
great number of patterns 
which appear on the beau- 
tiful French underwear, on 
lingerie gowns and hats and 
parasols, the lovely hand- 
made dresses for babies and 
children, hoods, jackets, 
sandals, and shawls. How 
delightful it is to think of 
~ this wide field of beautiful 

ICycIel Ccnlcrpicce ^ork open to those who 

learn these few simple 
stitches! .Xnd I am sure you will not only enjoy learning them for 
the patterns of this lesson, but for the hundreds of other lovely 
things that this les.son will enable you to make. 

Other Uses for These Designs 

Not only are there other uses for the stitches of this lesson, but 
there are other uses for the patterns as well. The centerpiece pattern 
would be lovely on a parasol. One motif could be used on the sleeve 
of a child's or a grown person's waist, three or four motifs could be 
placed across the front of the yoke and in many other ways which 
these hints will suggest to the ingenious woman. The handkerchief 
scallops can be used on petticoats, baby jackets and shawls, hoods, 
underwear, sachets, table linen, towels, and in fact on any of the 
hundreds of pieces of wearing apparel or household linen. 

The Perforated Patterns 

The handkerchief patterns will be found on Perforated Sheet 
No. 2. The designs are Nos. 6, 7, and 8. 

The eyelet centerpiece will be found on Perforated Sheet No. 3. 
The design is No. 10. One-quarter of the design is given. It must 
be stamped four times to give the complete circle. 




^-^^^■- 



Page Six 



S S O N 



T H R E 



Some Beautiful French Embroidery 

A Chemise with Lace-Stitch Inserts, 
and a Towel Design in Flowers 

HERE we have two exclusive designs — one for a towel, the other for a chemise. The 
latter is one of the most lovely patterns that have come from the hands of French 
women. The embroidery design of the chemise, with its inserts of lace-stitch surrounded 
by solid work, is unusually attractive, and the method of closing the garment, on the 
shoulders, is a new practical idea. It is so exactly what is needed that the wonder is no 
one thought of it before. The towel pattern, too, is just what all of you will want, in view 
of the present great popularity of embroidered towels. I myself like this pattern particularly 
well, because it is so simple and because it can be used on any towel, no matter what the size. 



Lesson III 

When one has mastered French embroidery, she has gone a 
great way toward knowing all embroidery. Most French work 
is done on the finest of materials, although there are exceptions, 
like the towel pattern we have here. Upon these fine materials 
it is natural that nothing but the finest of work must be done, 
if the finished effect is to be at all lovely. You cannot do hasty 
work; you cannot use a needle that is too large because no 
other is handy, you cannot use cotton that is too coarse. French 
embroidery may be done in an embroidery ring or in the hand, 
but it must not be puckered. 

n tr dft Vi After these words of caution, let us start 
uutiine Mitcn ^.^^^ ^^^ ^^^^^ ^j^.^j^ ^j^ ^^^^^^ ^^^ ^^^ 

ginner to do some practice work before she attempts the 
more difficult underwear design. The stems in the towel 
pattern are done in outlining, but the stitches are small and 
made with a fine cotton, so that they seem little more than 
a transverse thread in the damask. Besides this stitch the only 

other stitch is what 
is known as French 
laid work or raised 
satin stitch. It is a 
great deal like the 
slanting satin stitch 
we talked about in 
the eyelet work les- 
son, but the padding 
is put in somewhat 
differently. 

I want to call your 
attention particular- 
ly to the outlining. 
Wake it of running 
stitches as you did 
in the ovclet work. 



A Lu\lIv EmbroidiTi'J To 




but have the stitches on the wrong side very tiny, and those 

on the right side as long as it is possible to make them 

T~ 1- T • J Tir 1 without spoiling the shape. Now fill 
French Laid Work ^^^ ^^^J^ ^^ ^^^ p^^^, ^^ j^^^ ^^.^^ 

one row of running stitches after another. Again make the 

wrong side stitches as smaU as possible, and those on the 

right side quite large. Have the rows run down the length 

of the leaf and put those at the center in so close they almost 

T. jj-^ oi-i u overlap, and those toward the edges a 
Padding Stitches ,.^^j^ ^^^^^ ^^ ^^^^ ^^ ^^.^ .^ ^^.^^^ ^^^ 

center of the leaf, which is as it should be. 

When the padding has all been put in, work the top stitches 
straight across them. Be sure to take the stitches directly on 
the stamped lines. 

The blossoms in the design are not made entirely solid. The 
edges are worked in the French laid work, and the centers of the 
petals are filled in with dots that are worked first one way and 
then the other, to raise them. For the scallop follow the in- 
structions given in Lesson IL 

In the chemise pattern we find some of that beautiful French 
embroidery which must be made daintily. The material used 
is a fine, soft nainsook, and the work is done with a fine em- 
broiderv cotton and needle. Have the needle only coarse 



O N 



H R 



Page Seven 



enough to carry the threat!, otherwise it will pull holes in the 
nainsook. 

rri c„ The edges of the chemise are hemmed before 

Ine oquare . „ ■ , , > . 

„ .. the scallop is worked, and it seems a pity 

acallop jl^^j ^j[ scalloped underwear is not made in 

this way, for a scalloped edge on a single fold of thin material 
rarely wears well. The hem is about three-eighths inch wide 
and just gives a nice body to the edge, without adding any bulk. 
In working the corners of the scallops turn the stitches, keeping 
them close together at one edge and spreading them at the 
other, just as a regiment of soldiers wheels to turn a corner. 

Oval Eyelets J^"" 7'^" 
lets for 

the ribbon are oval, and are 
worked like the oval eyelets 
we learned about in Lesson 
II. The scrolls and the 
little leaves that are scat- 
tered about the lower part 
of the design are in slant- 
ing satin stitch, like the 
stems of the handkerchiefs. 
But the leaves of the forget- 
me-nots and some of the 
The Seed scroll leaves 

r,.-. . arc in a stitch 

Stitch , 

we have not 

yet used — the seed stitch. 

This stitch is flat and low ' y 

toned, and gives the effect " "'- 

of shade, in contrast to the 

raised or brighter work. 

Seed stitch is back stitch, - , 

but instead of having one ■• . 

stitch run into the other as 
in sewing or outlining, each l 

stitch is distinct and sepa- , j^ ,„,., ,,,11,1 

rated from the next stitch 
by a distance greater thaa 

its own length. The seed stitch itself is not long, extending 
at the most over two threads of the material. It must be tiny 
and unobtrusive. The tiniest French knot, made with the finest 
thread, would be far too large to answer the purpose of the 
seed stitch. 

The edges of the seed-stitch leaves and the stems which con- 
nect them are worked in outlining with the tiniest of stitches. 
Keep this outlining just as regular and smooth as you possibly 
can, so that it has the appearance of a fine cord sewed to the 
fabric. The same outlining is used to divide the spaces at the 
extreme right and left into squares, and the dots in the squares 
and the other parts of the design are done like those of the 
eyelet work. 

Besides those we have learned, but one other stitch is used in 
the design, and that is the lace stitch with which the spaces 
that look so much like drawn work are filled. As a matter of 
fact, in reality it is the lace stitch combined with drawn work. 

T qrp '?Hf-rh ^^ must be made before the slanting satin 

stitch is worked around the edges. Put in 

the padding stitches, then draw four threads, and let four 

threads stand both ways of the space. Cut the drawn 




threads far enough away from the edges to give something 
to be turned under, and after you have done that you may 
finish the slanting satin stitch around the edges, catching 
beneath it the cut threads. 

Now- take a fine spool cotton — No. 200 is good — and whip 
the threads that remain. Take a stitch in each space and whip 
the threads first one way and then the other. 

The solid blocks in the lace stitch you must darn in. As you 

can see, in the two side spaces every alternate two blocks each 

way are darned. Use the No. 200 cotton. The four spaces 

between are to be crossed with two threads as you would cross 

a space for a lace stitch 

spider. They are caught 

together at the center. 

In the lace stitch of the 
center space, three open 
blocks are left each way be- 
tween the darned blocks, 
giving nine blocks in the 
square. The very center 
block of the nine also is 
darned. 

Before we leave this les- 
son, let me repeat that 
French embroidery requires 
dainty fingers, dainty ma- 
terials, and dainty hand- 
ling; for without them it 
becomes not beautiful, but 
one of those monstrosities 
which sbme women whose 
artistic instincts have not 
been cultivated waste their 
time upon and call em- 
broidery. It is the careful 
placing of the stitches, their 
,,,,,,, In, n symmetry and their regu- 

larify, which makes French 
embroidery beautiful. 
Other Uses for the Stitches 
The stitches tauRht in this lesson appear in the very handsomest 
pieces of French underwear, lingerie gowns and negligee wear, so that 
.\oii can make any of these beautiful things when you have learned 
this lesson. They are used, too, on many of the loveliest white 
luncheon centerpieces and doyleys, on scarfs for the bureau, on pin- 
cushions, sachets, baby clothes, and in fact all fine white embroidery. 
Other Uses for the Designs 
The chemise design can be given the necessary diflfcrent shapes by 
following the directions in our introductory talk, and so used on an 
entire set of underwear — chemise, nightgown, corset cover, and at 
set intervals around the flounce of a petticoat. The square scallop 
could be used on them all, and wouldn't they be lovely for a bride's 
trousseau! The chemise pattern would be sweet, too, used on the 
front of a lingerie waist. Little sprays of it could be used for babies' 
and children's clothes, and here again the scallop would find an infi- 
nite number of uses. The towel pattern might be used on sheets, 
pillow cases, and for the ends of bureau scarfs. Or it might be worked 
in color for the ends of a library table runner, or as a decorative 
band on a wall pocket or a laundry bag. 

The Perforated Patterns 
The chemise pattern will be found on Perforated Sheet No. 3. 
The design is No. 12. 

The towel pattern will be found on Perforated Sheet No. i. The 
design is No. i. 



Page Eight 



S S O N 



FOUR 



A Novel Mignonette Centerpiece 

With a Lesson in Couching, French Knots, 
Lazy-Daisy, and Short-and-Long Stitches 

THE mignonette, with its delicate lines and soft colorings, is used on this round lace-edged 
centerpiece with unusually charming efifect. The expert needlewoman finds it doubly 
attractive because of the simplicity of the work, and to the beginner it has the joy of 
presenting a number of new stitches which she will find easy and interesting. For in this 
centerpiece are combined couching, French knots, the lazy-daisy stitch, and the short-and- 
long stitch. So besides having the satisfaction of working so lovely a piece, there is much 
about it to add to the beginner's store of knowledge. 



Lesson IV 

The Rieht White linen of a medium weight is used 

iw t 'It TT o fo'' the centerpiece. But white is not the 

iviciierifli to use , , i.i.._ iji_ ij 

only color upon which it could be worked. 

I should like the pattern equally well upon a medium tone of 
gray-green, one sufficiently light to bear the leaf tones without 
interfering with the migaonette. A medium weight material 
with a satin finish would be lovely upon which to work it, 
or a mercerized poplin, although these materials would not 
wear so well as linen. 

jy The piece of material upon which the pat- 

tern is stamped must be square, so that it 
bquare Irame ^^^^ j^g stretched in a square frame. Inci- 
dentally, I want to tell beginners how unnecessary it is to have 
the piece stretched out its entire length. In fact, it is most 
unwise to do so if the embroidery is intended for pick-up work. 
For no matter how careful and neat one is, the work is bound 
to become a little soiled by the flying dust. 

The best way is to roll the 
piece over the thick sides of 
the frame, keeping unrolled 
only that part which is to be 
embroidered at once. .Another 
way is to have the entire piece 
stretched out and cover the 
parts that are worked by 
basting a piece of muslin over 
them. This way obviates the 
need of opening the cords at 
the sides of the frame. 

/-, ,. Let us proceed 

Couching . . ' , 

" with the bor- 
der of the centerpiece, done in 
couching with a fourfold thick- 
ness of Turkish floss. Take 
four skeins of the floss in 




a medium shade of gray-green, open 

up each skein and wind them together 

— the fourfold strand — over a bit of 

paper. This is to keep them from tang- 
ling and to avoid joining in the couching. 

Lay the fourfold strand of floss over the 

outer line to be covered, and catch it in 

place with short stitches of a darker 

shade of gray-green. For these stitches 

but one thread of the floss is taken. 

The stitch is brought up to the right 

side, carried straight over the couching 

threads, and down on the other side of 

the latter. The couching stitches, as these 

little stitches are called, are made about 

one quarter of an inch apart. The ends of 

the couching threads are drawn through 

to the wrong side and fastened there. 

The inner line of the border is couched in the same way, but 

with a lighter shade of gray -green, and the diamond-like motifs 

which appear in the border at each turn are couched with a 

medium shade of terra -cotta caught down with couching 

stitches of the darkest gray-green. 

The leaves are done in what is known as 
short-and-long stitch, the same stitch which 

Long Stitch gj^jjji ^^ described in a later lesson for solid 

Kensington work. In short-and-long stitch the work is only 




Short-and-Long 
Slitch 



Short-and- 



^-^— 





Kin^iiii!lon Sltm Slitch 



E S S O N 



FOUR 



Page Nine 




<__, 



^ 



partly solid — that is, a short stitch is taken from the edge in, 
then a long stitch and a short, until the leaf is about half 
way covered to the center vein. The stitches are not at 
all regular in length, even alternately. The particular point 
is to keep the work smooth. So many give it a loose, lumpy 
look, due to the fact that the inner edge of one stitch 
overlaps another, when the only reason for putting the short 
stitches in is to give the worker room to put the stitches 
closer on the inner edge where there is naturally less space 
than on the leaf edge. 

Stems in 
Kensington Stitch 

The stems of a de- 
sign, it seems to me, 
always should be 
secondary to the 
blossoms and leaves, 
and I am sorry to 
say they are not so 
in very many cases. 
These stems, in spite 
of their thickness, 
are worked in what 
is known as Kensing- 
ton stem-stitch, but 
is nothing more nor 
less than outline 
stitch. One length- 
wise row of outlining 
after another is put 
in. the stems worked 
with the two darkest 
shades of green. Of 
course the outlining 
rows must be worked 
very closely to- 
gether, to entirely 
conceal the material 
beneath them. 

The mignonette 
flowers themselves 
are so pretty it will 
delight us all to 

work them. Vou must use silk of the e.xact mignonette 
shades — the medium shade of terra-cotta which was used 
in the couched border and which should be just the 
shade of the red of the natural mignonette blossom, and the 
soft, hght gray-green that goes so beautifully with it. All the 
French knots are in the green, and I need not tell you how 
to make them, for you learned that in the lesson on the pillow. 
The terra-cotta is worked in in the lazy-daisy 
stitch. I know a great many professionals will 
criticize me for calling this the lazy-daisy stitch, 
but so many know the stitch by that name, and it fits 
it so well, that I think we should stick to it in spite of 
criticism. To make this stitch, draw the thread up through 
the material at the inner end of the line to be worked, 
then pass the needle down through the same hole, leaving 
a loop of the silk on the right side. This loop should be 



■If 



Lazy-Daisy 

Stitch 



slightly longer than the line to be covered with the lazy- 
daisy stitch. Now pass the needle up through the material 
at the other end of the hne, through the loop and down in 
the same hole. Pull the thread tight. This will draw up the 
loop too, so that it lies perfectly flat over the line. If it does 
not. adjust the thread to make it do so. 

When the centerpiece is aU finished, tack it right side down 
on a board, then tack a circle of the lace around it, making 
sure that the edge of the lace has not a bit of unnecessary 

fulness. Have a 
slight space between 
the centerpiece and 
the inner edge of the 
lace. Wet the latter, 
press it against the 
centerpiece, and sew 
together. 

Other Uses for the 
Stitches 

The uses to which 
the stitches learned in 
this lesson may be put 
are as countless as the 
sands of the sea. One 
could never name them 
all. so many are they 
and so infinite is their 
' variety. The lazy-daisy 

stitch is made in the 
* finest of cotton or silk 

on all sorts of baby 
clothes, and in the 
heaviest materials on 
afghans. sofa pillows, 
table runners, bags, 
slippers; you will find 
it on yokes of dresses, 
in the decorative em- 
broidered panels of the 
handsomest ball 
gowns; on evening 
cloaks, and in many, 
many other pieces that 
require effectiveness 
without a great moun- 
tainofwork. Couching 
is used on the hangings 
of a room, where big 
scroll designs are 
developed in it. and 
it appears on all other kinds of colored embroideries that are used to 
adorn the home; and more frequently than not the shorl-and-Iong 
stitch is used in connection with couching. 

Other Uses for the Design 

Nothing could be prettier than this design set in a stiff row of 
sprays, for a border of a table cover, a curtain, or a couch cover. 
A piano scarf might ha\'e the sprays worked at the ends. One spray 
could be used on a whisk-broom holder or a blotter, and so make a 
lovely gift for a man. Or the design might be worked in white on a 
fine white nainsook for a waisl front; it can be used on baby pillows, 
and on baby blankets of flannel it would l)e sweet and pretty, a spray 
placed in each corner and worked in pale greens with pink and white 
for the flowers. There are hundreds of other uses for it, too. as you 
will find when you wish to make something that needs just a bit of 
simple embroider}- to make it charming. 

The Perforated Patterns 

The mignonette centerpiece pattern will be found on Perforated 
Sheet No. 4. The design is No. 13. One-quarter is given, and it 
must be stamped four times to give the complete circle. 




W 



Mignonette Centerpiece 

>irif hy Af. Hentimvay &• Sons Si/i Co. 



Page Ten 



LESSON 



F I \' 



A Most Artistic Work Bag 

Made in English Embroidery 
and Flat Persian Cross-Stitch 

THIS is the very newest thing in a work bag. It is an odd and artistic bag, simple in 
shape and worked in a combination of two stitches that is but rarely used. The coloring 
is so good that we must copy the original exactly. And I feel sure that none of you will be 
content merely to make one bag in which to carry your own work, but will want to make sev- 
eral others as gifts for your friends. Indeed, I know of nothing that would be better chosen, 
for these bags, so extremely handsome in appearance, really require little time and skill for 
the working. 



Lesson V 

In our first lesson we gained a little idea of what English 
embroidery is. To describe it in full, let me say that it is a 
flat embroidery in which a stitch is taken from one edge of the 
part to be embroidered to the other, like satin stitch but with- 
out the padding. But in satin stitch, if the width is too great, 
it is broken by two stitches or a vein down the center. In 
English embroidery there is no such compromise. The stitch 
is frankly taken from one edge to the other, and you can readily 
understand, therefore, that the work can only be used on pieces 
that need not stand much wear. 

Rarely is English embroidery shaded. Two or three shades 
frequently are used, but they are used in solid masses. One 
part of the design is in one shade and another part, quite dis- 
tinct from the first, in another shade. In this bag which we are 
to learn how to make, each of the three crescents which form 
the medalUons is in a different shade. 



Used in Con- 



English embroidery is used in conven- 
tional work only, for it really belongs to the 
ventional Work ^^.^^ nouveau school of design. A floral pat- 
tern may be used, and indeed frequently is used, but it must be 
a conventionalized flower. (Geometric designs are more often 




Suitable Colors 



Dilail of Slilchts Used in tin 



chosen to be worked in this way, and from my point of view 
they are far more suitable. 

We have learned three points about Eng- 
lish embroidery. A fourth point is that 
it is effective on materials that are dull in tone and artistic in 
appearance, rather than on the more commonplace-looking 
fabrics. Burlap makes an excellent background for it, all 
loosely woven natural-colored and other low-toned linens are 
good, and so is crash. White and bright colors are bad, if for 
no other reason than that it seems a matter of instinct to do 
English embroidery with queer art tones. I do not believe 
the most ignorant person would choose bright colors for it. 

In the bag which is the subject of this lesson, the back is dif- 
ferent from the front, both together making a complete design. 
A natural colored, loosely woven linen has been used, but I 
know of nothing that would be prettier for it than crash. 

The colors in the embroidery are particularly appropriate and 
lovely, whether used on linen or crash. The bag is worked with 
Turkish floss — two shades of golden brown, three shades of gray- 
green, three shades of dull blue, and two shades of a soft old pink. 
The two lines which connect the various parts of the design 
are in the two shades of golden brown, the upper line in the light 
shade and the lower in the dark. For these lines use outline 
stitch, with which we became perfectly familiar in the other 
lessons. The dots of the design also are of golden brown, and in 
the detail illustration you will see the direction in which the 
stitches should be taken. Use the lighter shade of brown, and 
after the dots have been worked, outline their edges with the 
darker brown. 

I want you to be sure to take the stitches of the 
dots exactly on the stamped lines, and the out- 
lining stitches in the same holes with the dot 
stitches. You must do this to keep your dots perfectly sym- 
metrical, and you must be sure to have the outlining stitches 
very, very small, or the circle will have a jagged line for its 
edge. The lines connecting the dots with the medallions of 
the front also are worked with the darker brown. 



Working 
the Dots 



S S O N 



I V 



Page Eleven 



In the front medallions you will notice the center dot. 
These dots are in the lighter shade of golden brown, but they 
are not outlined, like the other dots. 



Working the 
Crescents 



Besides the center dot, each medallion 
consists of five crescents, worked alternately 
in flat English embroidery and the Persian 

cross-stitch. The English embroid- 
ery of the two side medallions is 

made in three shades of gray-green, 

with the top crescent dark, the 

center one of the medium shade, 

and the lower crescent light. The 

stitches of these crescents must be 

kept as flat as possible, yet, unlike 

the usual English embroidery, they 

are not taken parallel, but follow 

the curves of the crescents. Begin 

at the center of a crescent with a 

stitch running straight up and 

down, then work to one of the 

side points. Keep the stitches very 

close together on the inner edge, 

but do not have them overlap, 

and at the outer edge spread them 

apart somewhat without letting 

the material show through. When 

one half of the crescent is finished, 

go back to the center and work the 

other half in the same way. 

Persian J^' '''"""^ ^"^ 

o • u fourth crescents 

Cross-stitch pf g^j.jj medallion 

are, as I stated before, worked in 
the Persian cross-stitch, and for 
them the two shades of old pink 
are taken. Use the darker pink for 
the upper crescent. 

Begin at one end of the crescent. 
Bring your thread up to the right 
side at one edge, and cross the 
space in a slant to the other edge. 
Pass the needle down, go back 
about an eighth of an inch on the 
same edge, and bring the thread up 
there. Cross ov-er the space, pass 
the needle down, go back an eighth 
of an inch on the same edge and 
bring the thread up. Keep doing 
this continually until you have 
reached the other end of the 

crescent. While I have given an eighth of an inch as the 
length of the stitches on the wrong side, I have done so 
merely to present to you a clear conception of the stitch and 
how it is made. It is really much Hke the cat stitch in sew- 
ing, or would be if you were working it in a straight line. 
.\s it is, to produce the crescent shape, the stitches must 
be much shorter on the inner edge than on the other. A 
good rule to follow is to have each stitch slightly slanting 
from the perpendicular between the edge lines upon that 
part of the crescent. 




Work Hag in English 

DcsigitCii by Af. Hftnii: 



After all the crescents are worked, separate them with an out- 
lining of the darkest shade of green. Be careful to make the 
stitches evenly, and right on the division line. Work the center 
medallion just as the side medallions were worked, but substi- 
tute blue for the green. 

There is no need to say anything of the scallop, which 

Scallops Are >,'°" '^"^""^ !° 
^ , , , do properly in 
Not Padded our lesson on 
eyelet work. In this scallop it is 
better not to put the padding 
stitches beneath the buttonhole 
stitches. Use the darkest shade 
of blue and make the scallop flat, 
in keeping with the design, which 
is as flat as it can be made. 

In making up your bag be sure 
to use celluloid rings on which to 
string the drawing cords. They 
are much better than rings covered 
with crocheting, because, while the 
latter may tone in with the color- 
ing, they do not last so long. The 
constant pulling wears them out 
in a very short time. 

To draw up the bag use a hard 
twisted silk cord. The cords 
should not be joined, excepting 
with a knot at each side. Finish 
the ends with balls made of the 
cord. 

Other Uses for the Stitches 

The flat English embroidery stitch is 
used on all art nou\'eau designs, whet her 
in sofa pillows, bags, handkerchief 
and glove cases, table runners, card 
cases, centerpieces, piano scarfs, em- 
broideries for the den and the college 
boy's room, and on all other pieces 
where quaint, artistic effects are de- 
sired. The Persian cross-stitch is 
used in combination with other fancy 
stitches like featherstitching, French 
knots, and the lazy-daisy stitch, to 
produce delicate,quickly accomplished 
effects in white embroider}' on thin, 
dainty fabrics. 

Other Uses for This Design 

This design is particularly suitable 
for use as a decorative motif in a 
room for a college boy or a bachelor, 
or for a den. .V square burlap mat 
for a table might have the crescent design at each comer, with 
the lines connecting the corners; at the ends of a scarf the crescents 
would form the center motif; the pattern could be worked around the 
top of a scrap basket, on a whisk-broom holder, across a laundry bag, 
on a necktie case, the head rest for the easy chair, across the top of a 
square sofa cushion, and across the ends of an oblong cushion. It 
could be used, too, on a foot-stool, and in many other places suggested 
by the furnishings of the room. 

The Perforated Pattern 

Tlie bag pattern will be found on Perforated Sheet No. 4. The 
front aiifl tlic liack are all in one The design is Xo 16. 



EmbroidtTj — Back 
way &■ Sons Si/it Co. 



Page Twelve 



SON 



S I X 



An Oval Between -Meals Centerpiece 

Embroidered in White Pond Lilies 
on an Attractive Dull Brown Linen 

THE housekeeper whose dining room is her special care and her store of embroidered 
Hnens her particular dehght, will appreciate at its true value this centerpiece in graceful 
white pond lilies. It is oval in shape, and though it looks particularly well used on an oval 
table, it is also very effective on a square or a round table. The pond lily is a flower which 
is so seldom used in embroidery that we are fortunate to be able to obtain such an unusually 
good design in this beautiful flower. The colors chosen for the embroidery are soft and har- 
monious, and combine perfectly with the dull brown of the linen. The stitches used have all 
been described in previous lessons, so that the worker need only use care and accuracy in the 
work. Such a centerpiece would make an ideal gift for a bride. 



Lesson VI 

„ -If The design of the between-meals center- 
piece is peculiarly adapted to it, with the 
Centerpiece massed blossoms at the ends and the grace- 
ful sweep of line along the sides. It is worked on a heavy, close, 
brown linen, and with this for a background the work is done 
entirely in shades of green and white, with just a touch of gold 
. .. .. in the border, and in the hlies a suggestion of 

^ . burnt orange. Surely nothing could be more 

Coloring lovely than this combination of colors, and it 
would be a pity therefore to work the centerpiece on any 
other material than that I have mentioned. The work is done 
with Turkish floss, and the stitches used are short-and-long 
stitch, French knots, couching, and the outline Kensington 
stem-stitch, all of which you have learned about in other lessons. 

Working the ^^'^ '^'^^^' ^^'^^'^^ ^°" "^^'^ ^'^'^ '^ ^^^'^ "^ 
^ into little sections, is made of three rows of 

Line Border couching, worked with a quadruple thickness 
of the floss which I told you about in the mignonette center- 
piece. For this couching, white is used and two shades of green. 
The inner row is worked with white, then comes a medium shade 
of green, then a dark green. A water-green should be chosen, 
one that combines well with the brown linen and white and gold. 
The border, or the scrolls which connect the two bunches of 
lilies, is done in that Kensington stem-stitch we talked about 
also in the mignonette centerpiece. But for this piece three 
shades of green are used, with the lighter shade on the inside. 
The center figures along the sides of the border are worked in 
Kensington stitch in the same way, and are outlined with Japa- 
nese gold thread sewed down, in the way it was used for the sofa 
pillow in the Dutch Renaissance design. Be sure that you get 
the Japanese thread and not gold metal thread, for the former 
sews down more easily and gives a clean straight line that is 
much prettier than the pearled eft'ect of the twisted gold thread 



The ends of the gold thread must be passed to the wrong side 
and there sewed down. They must be drawn through a hole 
punched sufficiently large to keep the thread in good condition. 
1^ ■ , I have been saying that the flowers are worked 

in short-and-long stitch, but this is hardly an 
"^^'"'^ accurate description of them. They are done 

more in the Kensington work, but this term applies to solid 
work, and these lilies are worked only partly solid. White 
Turkish floss is used to work them. 

Begin at the top of each petal and work a row of short-and- 
long stitch across it. then another row, putting the stitches of 
the latter between the ends of the first row of stitches. If your 
stitches are not made long enough, you may easily need to put 
in a third row of these stitches, but above everything you must 
keep the work flat and smooth. Don't think you can overlap 
your stitches; that wiD never do. Keep them flat, flat, flat, is 
the motto which she who aims to be a good worker always must 
remember, yet not a suspicion of material must show between 
p. . .. the stitches. All the stitches must take the 
^ same general direction and must appear 

Stitches parallel; but as the work in this case is grad- 

uaUy spread, it is obvious that the stitches cannot be parallel. 
This shows you with what cunning the worker must put in her 
stitches, to cover the material, keep her work smooth and the 
stitches regular. 

The lower parts of the petals of the lilies, below the solid 
work, are filled in with French knots, also worked of white 
Turkish floss. The knots are spread far apart, to avoid any ap- 
pearance of solid work. 

<ih A- fh '^^^ leaves are made in the same long-and- 
bnaaing tne ^^^^^ ^^.^^^j^ ^^^^ ^^^ worked with the three 

Leaves shades of green used for the border. In put- 

ting in the shades, decide in your mind the direction from which 
the light will fall upon your work, and work the parts toward the 



LESSON 



I X 



Page Thirteen 



light in the hghtest shade, gradually darkening the parts away 
from the light. 

The stamens are made in burnt orange in outline stitch and 
with tops of French knots in the lightest green. Be sure that 
the burnt orange silk is well chosen in regard to tone. Too hght 
a shade would not go prettily with the brown linen. 
r f- r H Having embroidered the oval between- 

toronation ^.ora ^^^j^ centerpiece in this way, I am going 
Sewed On jq suggest another way of working, to give 

an entirely different effect. The oval centerpiece I have in 
mind now is not for between-meals use, but for mealtime in- 
stead. It should be worked, therefore, not on brown linen, but on 
pure white . Use a heavy quality, because I am planning to cover 
the scrolls, not 
with couching, 
but with white 
mercerized 
coronation cord 
of a medium 
weight or, as 
many call it, 
rice braid. 

Do you know 
how to sew cor- 
onation cord in 
place ? Cover 
the lines with 
it, fastening it 
down by mak- 
ing a basting 
stitch over each 
thin space 
along the cord. 
Pull the ends 
through a hole 
punched in the 
linen with a 
stiletto, and sew 
down securely 
on wrong side. 

Now permanently sew down the cord by overcasting along 
the wrong side, taking the stitches through the linen and into 
the thick spaces of the cord. After that is done the basting 
stitches may be removed. In basting the cord you must, of 
course, be careful not to draw it too tight or the linen will 
pucker. On the other hand you must not get it too full, or the 
linen will stretch out of shape. 

Make everything but the lilies and the leaves and the center 
figures down the sides of the border of cord. Work the lilies in 
French knots, using a thick lustre embroidery floss for them. 
The leaves should be outlined, then filled in with seed stitch, 
which you learned how to make in the lesson on French em- 
broidery. A pretty idea for a table on which blue-and-white 
china is used, is to make the seed stitch of blue Turkish floss and 
the outlining of white. The stamens of the blossoms should 
be blue, also. 

T -Di J 1171- -i. Outline the center figures along the sides 

In Blue and White r .. v , -.i, u-^ n, en fi, 

of the border with white, then till them 

with the wheat-ear stitch, which is a simple stitch made of lazy- 
ilaisy loops forming, not a round blossom, but a border. Use 



i:, ^ AAAAAAiPtft ^ .-. 




DiiigHcd by M. Ho 



blue Turkish tioss and make one loop at one end of the space, 
then in the end of that loop make three loops, one running 
straight with the first loop, and the second and third loops slant- 
ing away at each side. In the end of the center loop again make 
one loop, and alternate one antl three loops in this way down the 
length of the space. 

Other Uses for the Stitches 

With the lilies of this lesson, you have taken the first steps in 
naturalistic embroidery — that work which portrays beautiful floral 
designs and develops them in colors that are true to life, matching 
needlecraft against the handicraft of nature. You have received 
your first ideas of shading, you have learned how to put in the 
stitches to preserve the outlines of the blossoms. With this lesson 
an entirely new field of embroidery is opened to you, for, although 

you h a \' e not 
learned how to 
do work that is 
entirely solid, 
there is, in real- 
istic embroidery, 
so much in which 
only parts of the 
blossoms and 
leaves are worked 
solid, that you 
will find at all 
hands new pieces 
that you now can 
work. Real em- 
broideries these 
are, embroideries 
recognized as 
art by the craft 
societies and 
artists, embroid- 
eries that require 
real knowledge 
and a real artis- 
tic instinct to 
produce them. 
All this wonder- 
ful field this les- 
son has opened 
before you, a 
. ii- (Mii.rpi.n- field (that is 

ever) full of de- 
„,..,,' ,^:...n. SMC \\%\vt to the 

needlewoman. 
Other Uses for the Design 

If one wanted a round centerpiece instead of an oval, the center 
figure at the sides of this design might be omitted and the lines short- 
ened to the size one wished. In that way a most unusual design for 
a round centerpiece might be obtained. Or, if one wished to make one 
of those oval-shaped linen work bags that are so roomy and so great 
a favorite with knitters, the water lily cluster would make a charming 
decoration for a side. Or, if you were planning to make a baby 
blanket of soft white French flannel, one cluster of the lilies could be 
placed about ten inches from the bottom, then the lines carried from 
each side around in a circle about the center of the blanket, and inside 
the circle baby's initials could be worked. For them you could use 
the large letters given in a later lesson. 

Of course there are a great many other uses to which this design 
might be put. k straight row of the single lilies, one placed stiffly 
after the other with the stems down, would make a delightfully 
quaint border to work across the top of an oblong cushion, and this 
would offer a suggestion to the artistic woman for many other ways of 
using the individual blossoms. 

The Perforated Pattern 
The pattern for the oval between-meals centerpiece will be found 
on Perforated Sheet No. 2. The design is No. 4. One-half of the de- 
sign is given, and the pattern must be stamped two times to give the 
complete oval. 



Page Fourteen 



O N 



EVEN 



The Newest Embroidered Coat Set 

An Unusually Good Design which Combines 
Reticella Medallions with Eyelet Work 

TO combine reticella medallions with eyelet work is an entirely new idea, and in this coat 
set it is particularly lovely. The design is an exclusive one, such as is seen only in 
the imported embroideries made by the best French workers. A set of this sort gives an ex- 
tremely smart touch to a severe tailored suit, and freshens up effectively a suit which has seen 
a season's wear. The great beauty of this particular set lies in the combination of the open 
cut work medallions and the heavy padded satin stitch which forms part of the design. The 
addition of the eyelet stars forms an effective touch. This coat set would be particularly 
charming for a young girl. 



Lesson VII 

A coat set entirely of reticella work is quite an undertaking 
for a beginner. Not that it is so difficult, but because the 
stitches must be put in so exactly that even the expert must 
e.xercise the greatest of care. But all reticella work is alike, and 
after you have learned how to make these medallions you will 
be quite competent to undertake any piece, no matter how 
elaborate. 

For reticella work, or Italian cut work, as it is as properly called, 
heavy cream-colored linen always is used. The first work of this 
kind, and in fact the finest specimens, still are made on antique 
handspun hnen. and therefore the creamier and older in appear- 
ance the material you use, the better will be the effect. 

The reticella medallions should be made with a rather coarse 

linen thread that has a soft finish, and the same thread should 

be used also for both the French and the eyelet work. I shall 

not give you any instructions regarding them on this collar, for 

I am sure our previous lessons have taught you just how they 

should be done. Do them first, then let us proceed with the 

reticella work. 

„ , One of the first things to learn is that one 

Uonotbtretcn ^^^^ ^^^ ^^^^^^^ ^^^ ^^^^^^ ^^^ ^^ ^^^p^ 

the Linen Baste around the outline of each medallion. 

Do this with small running stitches and go twice around, the 
second time covering the spaces left on both the right and the 
wrong sides in the first time round. This gives a circle of 
stitches without a break, and to make it doubly strong, whip 
all around, taking a stitch in each stitch of the circle. All this 
time I am sure you have been very careful not to stretch the 
linen out of shape. 

You must now baste the linen firmly on 
Baste on enamel cloth. If you cannot get enamel 

Enamel Cloth ^^^^^^ ^^^^^ oilcloth will answer the purpose, 
for they are much alike. Put in the basting stitches about one- 
quarter of an inch away from the medallion and do the basting 
securelv. Aher this you must buttonhole around the edge of 



'0^ i«t«Sk 



Detail of Ring Medallion 



the medallion over the running stitches and linen both. Have 

the buttonholed edge toward the inside of the medallion, for 

after the latter is worked the linen beneath is cut away. 

Reticella work consists entirely of buttonholing on foundation 

lines or supports that are first laid in. Any geometric figures 

may be developed in this, but the principle underlying all is the 

same. So after you have learned to make these medallions you 

will have no difiiculty in copying any pattern you may see. 

^, „ „ J II- Let us begin with the star medal- 

The Star Medallion ,.^^ ^^^^^j^ ^^^ ^^^^^^ ;„ ^j,^ ^^^^ 

tonholing on one edge and cross to the other edge, catching 
there, .\gain cross and catch in the first catching, so that the 
foundation thread or support for the medallion is double. Lay 
two more double threads in such a way that the circle is divided 
in six equal parts. The center line of each point of the star is 
thus laid in. 

The next thing is to make the center ring of the medallion. 
Darn a couple of times around the center, then work in button- 
hole stitches over the darning stitches. Put in as many button- 
hole stitches as possible between the supports, and between the 
two center stitches between each two supports let the thread 
hang loose to form the little loop that is called a picot. You 



LESSON 



EVEN 



Page Fifteen 



Forming the Points 
of the Star 




understand, I am sure, that none of these stitches are to be 
taken through the linen, for that is to be cut away beneath. 

When the center ring with its picots is 
tinished, three supports are laid in to 
form an equiangular triangle, and three 

other supports for another triangle. The points of the latter are 

placed evenly between those of the first triangle, and when you 

have done this you will see that you have laid in the supports 

of the sides of the six points of the star. Cover the inner side 

of one of the points with buttonhole stitch, with the button- 
holed edge toward the outside of the medallion. At the end of 

the row pass the 

thread over the side 

support, then work 

back across the row 

just made, putting a 

buttonhole stitch in 

each buttonhole 

stitch. Do this row 

after row, but at the 

end each time you 

must skip, so that 

your work gradually 

comes to a point. 

Always take a stitch 

overtheside support, 

and for that stitch 

you must allow in 

working the rows, 

or they may get 

wider instead of 

narrower. 
After you have made all the points, and in fact before you 

have made them, the linen may be cut away beneath, for you 

will find it much easier to work right on the enamel cloth. 

Working the Bars ^y'^'^" '^^ P°'."'^^ "^^^^ ^'''^ ""f": "" 
that remams is the workmg of the bars 

connecting the points. To do them, lay in a single thread 
for a support between the center of one side of one of 
the points to the center of the side of the next point. But- 
tonhole across one-third of this support, with the button- 
holed edge toward the outside. Carry the thread for a support 
to the edge, buttonhole over it, work another third of the long 
liar, carry the thread to the edge, buttonhole over it, and finish 
the bar. After a little experience you will find this very easy to 
do, but the work, no matter how proficient one becomes, can 
never be shirked. No one ever can do reticella work hastily. 

iw„j„ii:„„ „.-*u r>-„„„ But to resume. The second mcdal- 
JWeQaihon with Rings ,. , ■ , , 

lion, now that you have learned 

the first, probably requires little explanation, but because I 
want you to be sure you are getting it just right I shall give you 
the workings of it in detail, as I did with the first medallion. 
The edge is, of course, run and buttonholed in the same way; nor 
need I remind you of the enamel cloth. 

Begin by crossing the space with four supports, with the edge 
divided in eight equal parts. Catch the centers of the threads 
together with a little stitch, then buttonhole around, row after 
row, increasing at the vertical and perpendicular supports to 
form the corners of the square, and working on the diagonal 
supports without increasing. When the points reach one-half 



Cnat Set in Eyelet and R< 



across the supports you, have done sufficient buttonholing. 
For each of the small rings, separate the two-threaded support 
to give the two halves of the ring. Buttonhole the rings, 
catching them to the adjacent rings with picots and to the edge 
with five single threads. Put in each thread and buttonhole 
back to it when you reach that place in going around the ring, 
just as you worked the short bars of the first medallion. 

One word in regard to the dots of the pattern. They 
may be in satin stitch, as they are worked in the coat set 
of which we have the picture, or they may be made in eye- 
lets. A series of these tiny holes, circling around the reti- 
cella medallions, 
would be fetching, 
and would add ef- 
fectively to the de- 
sign. The heavy 
bars, too, which 
form the inner 
scrolls of the heavier 
scallops, could be 
made open alter- 
nately — one bar of 
satin stitch, the next 
an oval eyelet. 

Finish all the 
work of the collar, 
French, eyelet, and 
reticella, then press 
without moistening 
to be sure the linen 
is not dragged out 
of shape. The next 
step is the adding of the straight neckband, which must be 
sewed in place with a very, very careful regard for the 
shaping of the neck. After it is finished the hnen is cut away 
beneath the scallops, and the collar given a final pressing. 
Other Uses for the Stitches 
Reticella work, or I taliancutwork, belongs to that class of embroidery 
which is handed down from generation to generation, an heirloom 
treasured as a priceless piece of lace would be. It is used, therefore, 
it is needless for me to say, on things that are of enduring value. 
Reticella medallions and borders are used for the finest household 
linens. Towels of heavy linen and beautiful tablecloths and nap- 
kins have borders made in reticella. Medallions are used with lace 
inserts on tea cozy and tea cloth, and on the handsomest linen bed- 
spreads. .\ luncheon set is lovely with reticella medallions, and the 
work appears on the finest imported heavy linen gowns, and on the deep 
collars worn by children with velvet coats. So you see the mastery 
of these few simple stitches will open before you opportunities to 
make embroideries that are elegant and artistic beyond compare, 
pieces that you will be proud to have and to hold, and to leave behind 
you beautiful specimens of your needlecraft. 

Other Uses for the Design 

The medallions of this design, it is unnecessary to tell you, can be put 
to any of the uses mentioned above, and you can change them with- 
out ditTiculty into borders, wide or narrow, or into medallions forming 
other geometric figures. The cuff pattern can be repeated over and 
over again for a border for pillow cases, sheets, or handsome towels. 
The scalloped edging could be used for a baby blanket or for a petti- 
coat, and the tiny eyelet figure would find hundreds of uses in pre- 
paring a baby's layette, where here and there a simple embroidered 
pattern could be added with good result. 

The Perforated Pattern 

The pattern for the embroidered coat set will be found on Perfora- 
ted Sheet No. i. The designs arc Nos. 2 and 3. 



Page Sixteen 



O N 



I G H T 



A Pincushion from Paris 

Roman Cutwork is Used Over 
Satin, with Charming Effect 

THOSE of you who have been abroad recently must have noticed how Roman cutwork 
has been adopted by the French, for pincushions, for handkerchief and glove cases, and 
for those wonderfully lovely lingerie pillows. So I am sure that you will be as glad as I am 
that we were able to secure this design for a pincushion which, for all its simplicity, has that 
Frenchy look we all like, and which it is usually difficult to get unless one spends such a lot 
of money. But here we have it included among our patterns, as artistic a design as we would 
ever wish to work. And it is not at all hard to work, particularly after you have learned 
reticella or Italian cutwork. 



Lesson VIII 

Both reticella and Roman cutwork are Italian and both are 
an evolution of drawnwork, resulting from the efforts of the 
ItaHan needlewoman of the Middle Ages to produce a beautiful 
lacy effect with the materials available to her. For it was 
about that time that lace first came into prominent use, whether 
or not, as tradition has it, it was first invented then. 

Roman cutwork is differentiated from reticella by the lack 
of geometric figures developed in buttonholing, but the princi- 
ples of working are the same. The piece to be worked is basted 
on enamel cloth, taking care to always baste near the edges to 
be cut, so that the linen cannot slip every which way, and spoil 
Precision of '^'^ pattern. For the great beauty of 

cutwork lies in its precision of hne. Each 
Line Important gg^^g ^^^^ ^^ exactly shaped, and in most 
patterns the same figures are repeated over and over again to 
form in the total a larger and more impressive figure. You can 
easily see, therefore, how the design would be spoiled if even 
one of the figures were puUed out of shape by drawing the 
linen when working. 

Run the Lines '^^^^^ ^°" ^^^'^ basted the linen on the 
. enamel cloth, run all the lines of the pattern, 

of the Design putting in short stitches on the wrong side 
and rather longer ones on the right side. None, however, must 
be excessively long, for they would at once change the shape of 
the figures of the design. The design must be done with a rather 
fine thread, and it is better to put in only one row of the running 
stitches, but if you were doing something on heavier linen, or a 
bolder pattern that required heavier work, it would be better to 
put in two or even three rows of running stitches. It is advisable 
not to whip over the stitches as in reticella work, because a 
flatter effect is preferable in Roman cutwork. The running 
stitches are put in to make the edges firm, rather than from any 
desire to produce a raised effect. 



Buttonhole over the ^f^'^'' ^'^ ^^^ running stitches are put 

• „ ci:(.„i,„„ in buttonhole over them. Of course 

unnine stitches , , , . , , 

you understand that neither the run- 
ning nor the buttonhole stitches are to be put through the en- 
amel cloth. In buttonholing have the buttonholed edge on the 
side to be cut. All the lines of the pattern are buttonholed 
whether they are to be cut or not, the only ones omitted being 
those inside of the cut figures, which are neither run nor but- 
tonholed. You now are ready to work these lines. Start with 
the round wheels in the pattern. Catch the thread in the 
center buttonholed circle, then cross to the outer circle and 
catch there. Do not catch in the linen between these points. 
Now twist the needle around the thread just laid in, and once 
•TTT . • iv more catch in the center circle at the same 
point as before. Buttonhole over this double 
opoKes ^g^j.^ putting in the stitches just as close as 

you can make them, but be sure you are not catching them in 
the linen beneath. At the center of the bar leave a loose loop 
of the thread, for the picot there. Work all the spokes of the 
wheel in the same way and when they arc finished cut away 
the linen beneath on the two buttonholed circles, and j'our 
first cutwork figure is finished. 

T • i J T> We have done this wheel with buttonholed 

Twisted Bars , , , ,, *• i i - ♦!, 

spokes, but very often, particularly in the 

Not Desirable coarser kind of cutwork, the twisted bars of 

lace-work are used. That is. after you have twisted back on the 

thread you do not cover with buttonholing, A bar of this kind, 

it seems to me, is suitable in cutwork only when it is combined 

with the more elaborate figures of lace-work, like the Maltese 

cross. Otherwise the twisted bars seem a mere makeshift to 

save time, and I for one would prefer to take the slower but 

more beautiful method of covering the bars with buttonhohng. 

The spider of lace-work, which so many use in cutwork as a 

quick method of filling in a space, will never appear in an artistic 

piece. 



E S S O N 



I G H T 



Page Seventeen 



Rings Worked 
Separately 



The Cushion is 
Cotton Filled 



All the bars of the cut parts are worked in 
the way I have just told you about, but the 
rings at the centers of the long cuts must be 

made a little differently. To make these rings you must start 

entirely independently of the embroidered piece and make a 

little ring by winding the cotton around three or four times. 

Cover this ring with buttonholing, then fasten it in place with 

the buttonholed bars. 

So much for the embroidery or cutwork, 
which I am sure you have decided is very 
simple. Now let me tell you something 

about the cushion itself, for it, like most of the handsome im- 
ported cushions, is cotton 

tilled instead of sawdust 

tilled. This means it is 

lighter, softer, and will keep 

its shape better, not to men- 
lion the fact that you can 

duplicate it yourselves. The 

cushion is covered with a pale 

shade of green satin, and it 

goes wonderfully well with the 

natural-colored linen which is 

used for the cutwork. This 

linen is rather fine, but is soft 

and open in weave, so that 

the threads of it are easily 

drawn. The top and bottom 

of the cushion are separate. 

The bottom has no cutwork, 

but otherwise it is made the 

same as the top. About a 

Hem Slashed' ^^'^ '"^'^ 
for Ribbons the edge of 
the cutwork a row of hem- 
stitching is worked, with a 
hem three-quarters of an inch 
wide. This hem has up-and- 
down slashes put in not quite 

an inch apart and worked just as oval eyelet would be 
worked. Of course these slashes are worked in the bottom 
linen piece, too, and the top and bottom are joined with 
ribbon laced through the slashes and fastened with bows at 
the corners. This makes it very easy to take off the linen 
pieces and have them laundered; for the good housekeeper of 
to-day never has in her home a pincushion which cannot make 
regular trips to th? laundry. The old-fashioned, dust-collecting 
pincushion of satin anJ lace and ribbon, that so quickly lost its 
beauty and acquired a bedraggled look, has met the fate of all 
unhygienic home furnishings, and no longer has a place upon the 
dressing-table of the dainty woman. 

Some of you. I feel sure, do not know just 
how hemstitching should be done, so I think 
we should spend a few minutes talking about it. For this work 
only three or four threads need be drawn at each side. Cut the 
threads where they cross at the corners, and buttonhole the cut 
edges, to keep them from raveling, then baste the hem down 
against the drawn part. There are several methods of hem- 
stitching, but I prefer that in which the work is begun at the 



Cushion Colors 




Imported Pincushion 



Hemstitching 



extreme left on the wrong side. Make a small stitch there, 
catching together the hem and the drawn part. Pick up three 
or four threads to the right on the needle, passing the latter 
from right to left under them. Draw up the thread, then make 
a tiny buttonhole stitch to the right of the threads that were 
taken on the needle. With this buttonhole stitch the hem and 
drawn part are caught together. Pick up three or four threads 
and make a buttonhole stitch in this way all around the hem. 

I have told you that the cushion itself is 
made of satin, in a soft, rather greenish 
Nile shade. It is that shade which helps so much to give it 
the distinctly French effect it has. Light blue of a greenish 
tone, a pale pink, a golden 
yellow, or pure white may be 
substituted without marring 
thiseffect.but red or any other 
strong color must be avoided. 
Always use natural -colored 
linen for the cutwork, when- 
ever it is possible to do so. 
White linen, particularly if it 
is closely woven, never has the 
same high-class effect. 

Other Uses for Roman Cutwork 

Roman cut-work is used on 
those things where severe sim- 
])lidty romliined with elegance 
is suitable, and having learned 
it you have the ability to make 
many pieces that are really 
beautiful in character. It is al- 
\va\s done on white or natural 
color. A card case of white 
linen is embroidered with a band 
of Roman cutwork; it may be 
used on a handkerchief or even- 
ing bag. on centerpiece and doy- 
leys, scarfs, sachets, lingerie 
pillows, linen cases for handker- 
chiefs, gloves, veils, and ties, on 
bedspreads, tea cloths, and for 
the borders of collars. A little 
corner in Roman cutwork makes 
a dainty decoration for a handkerchief or a turnover collar. 

Other Uses for the Design 

\ square centerpiece and doyleys for a luncheon set might be made 
with this design, repeating it four times for the centerpiece. The 
doyleys could be worked just like the top of the pincushion, but 
without, of course, the slashes in the hem .Another lovely idea would 
be a bureau scarf to go with the pincushion. This should have a wide 
hem all around, and across the ends the cutwork pattern might be 
repeated three times for the w'idth. This set would be decidedly 
new, and it would suggest more than anything else the handsome 
pieces which are brought to this country from Paris. If you make a 
scarf of this kind you must not. of course, trim it with lace. That 
would change its entire tone at once and make it commonplace. 

.\ lovely tea cloth might be made with a border all around formed 
of one-quarter of the design, repeating the figure over and over again 
for the border. The wheel would be charming repeated abo\"e the 
hem of a small square doyley, and two of the figures of the design 
could be used as a border across the bottom of a dainty evening bag 
of fine .Arabian-colored linen, the bag lined with white satin. .\ lin- 
gerie pillow might have the pattern repeated across its center, or 
one pattern might be worked toward the U[)i)er right hand corner. 

The Perforated Pattern 

The cutwork pincushion pattern will be found on Perforated Sheet 
No. 4. The design is Xo. 14. 



Page Eighteen 



LESSON 



N I N 



A Round Between-Meals Centerpiece 

A Graceful Arrangement of Poppies Done 
in Kensington Stitch in Natural Colors 

SHADED embroidery, at its best, is perhaps the very finest needlework that can be made, 
and this poppy centerpiece represents the highest development of shaded work. It is the 
very newest design for a round between-meals centerpiece. Those of us who do much 
embroidery are tired of the American Beauty rose, beautiful as it is; but this poppy is just 
as beautiful, is, in fact, even more striking in its coloring, and at the same time it is something 
ditTerent. Isn't it splendid to think we have it here among our patterns! I don't believe 
one of us will be able to resist it, and I predict that in a few days each one will be working 
hard on the poppy centerpiece. 



Lesson IX 

Of course we have a great deal to learn in working this design. 
Shaded embroidery isn't a matter of haphazard knowledge. It 
requires not only deft fingers, but a knowledge of nature and a 
keen sense of color tones. If you can, before you start the work 
get a natural poppy, but if you cannot do better, an artificial 
one will help. Study the grain of the petals, for that teaches 
you the direction in which the stitches should be taken; notice 
the shadings; hold it against the light and see which parts are 
brightened and which fall into still greater shadow; observe the 
curving of the petals, where they are flat and where they billow 
out into thick, handsome curves. If you take careful notice of 
these things, observing each small detail as the Indian marks 
even the bent twig on the trail, you will find the doing of shaded 
Kensington work very easy. 

In a poppy the grain of the petals is almost straight down 
from the edges, so all the stitches must be put in in that way. 
Where a rounded, full appearance is necessary, it can be secured 
by slightly changing the direction of the stitch, but much of a 
change would show and spoil the effect. All this is very, very 
important, because if the stitches are not put in right your 
flowers will have a flat, wooden effect, with no suggestion of the 
natural about them. Experiment a little and you will soon 
get the stitches just right, but be sure that the work is 
kept flat and smooth. A professional embroiderer usually 
rubs her thimble over each stitch after she lays it in, to 
be sure it is flat and tight. 

Yet while your stitches must be kept 
perfectly flat, the finished work must 
have a raised effect, like a poppy thrown upon the linen, not 
stitched there. This, as I mentioned before, is brought about 
by the stitch direction more than anything else. Take, for in- 
stance, the center petal of the full blown poppy of the design. 
Here the stitches are taken straight down from the upper edge, 
with an imperceptible slant toward the center on the side 
stitches. The stitches of the petal at each side slant toward 



Stitch Direction 



Color Tones 



the center of the poppy, and so have an altogether different 
direction. This, together with the fact that the side petals are 
in duller tones, throws the side petals back behind the center 
petal, raising the latter. 

You understand, of course, that the embroidery is done in 
the short -and-long stitch like the water lilies of an earlier lesson, 
but entirely solid instead of partly. Use Turkish floss in as 
many shades of red as possible, for the more imperceptibly 
graded your color tones are the better and more natural will 
be the work. Get some flat tones and some bright tones, for 
the deep shadows and the high lights, and remember to consult 
your natural poppy in putting in the tones, although you will 
find it quite an easy matter to follow the picture. 

There is one point about shading which may 
not be clear to you, and that is in regard to 
the use of bright and flat tones. To make this clear, we all 
know that certain parts of a flower are darker than others, en- 
tirely irrespective of the light which falls on them, and each part 
must be made in the proper shade, of course, if you are to pro- 
duce the effect of the natural flower. At the same time you 
must differentiate between the part of that shade which is in 
shadow and the part upon which the light falls. For the part 
in the light you must use the bright tone, and for the part in 
shadow the flat tone of the same shade. In this way you get 
the effect of light and shadow, and still retain the proper shade 
of color. Using shades of the same bright tone, merely grading 
from light to dark, does not produce the right effect, as so many 
think. You need two shadings— one of bright tones and an- 
other of flat tones. With them you get the natural shading of 
the flower itself, and also the shading produced by the light 
which falls upon the flower. 

The centers of the poppies are worked in three shades of a 
bright green, the lightest at the center, shading dark toward 
each side. The stamens are in outline stitch, of yellow floss, 
with black French knots at the top. .^fter the poppies are 
entirely worked each petal is outlined around its edges with 
black etching silk. 



LESSON 



N I N 



Page Nineteen 



After you have worked the poppies you wiU have no trouble stitch and looks exactly like the chain stitch of crocheting. But 

with the leaves. Different shades of a bright green are taken it is made like featherstitch, only that you do not make a 

for them. Begin the leaves at the top and work the stitches at rUoin Stitrh ^'^'''^h ^' o"^ side and then at the other, but 

each side diagonally toward the center vein. In the poppy buds always at the same side. Then, too, you al- 

the stitch direction should follow the curves of the edges. The ways pass the needle down through the stitch last made. This 

stems are in the Kensington stem-stitch, which we learned about gives the linked efl'ect that makes it look like a chain. 

in an earlier lesson. In the centerpiece When the centerpiece is finished the edge of the linen is 

notice rolled over and the lace sewed against it. You learned how 



The Stem Fuzz 



that was photographed you 



that there are short 
protruding stitches 
at each side all the 
way down the 
stems. They must 
be put in to give 
the fuzzy look that 
all real poppy 
stems have, yet 
they must be made 
very tiny, or the 
effect will be that 
of thorns rather 
than fuzz. 

After the poppy 
sprays have been 
worked there are 
still all those de- 
lightful scrolls to 
be made, and this 
gives us an oppor- 
tunity to learn 
more new stitches. 
The flat back- 
ground behind the 
scrolls is done in 
three shades of 
green Turkish lloss, 
in the honeycomb 
stitch, which is 
nothing but one 
row after another 
of buttonhole 
stitches made 
about one quarter 
of an inch apart. 

Honeycomb ^''"^ '''''^^ 'f ""^ "'''^™>' ^' 
„ . , ot the precedmg row. \ ou 

Stitch 




Centerpiece Poppy Design 

Dtsignf-d by M. Hetnimt'ny Cr Suns St^it Co, 



tween two stitches 
can tell just how 



the rows should be put in, if you consult the 
picture of the centerpiece. 

The scrolls are worked in outline stitch, using a medium shade 
of golden brown Turkish floss. On one side of this outlining and 
close against it work a second row of outlining, using black 
etching silk. The scalloped edge of this design is odd, isn't it? 
You will see which parts are worked in green and they are but- 
tonholed, just as though worked on an edge that is to be cut. 
For the two big scallops at each side golden brown floss of a 
shade lighter than the scrolls is used, then a verj' narrow edge 
of buttonholing in dark green worked around them. The result 
is very attractive. 

Last of all is the edge. For it dark red Turkish floss is taken, 
one of the shades used for the poppies. It is worked in chain 



to do that in our 
lesson on the mi- 
gnonette center- 
piece, so that here 
you should have 
no trouble. 

We have talked 
of our poppies only 
in shades of red, 
but for a center- 
piece for a brown 
dining-room there 
would be nothing 
lovelier than to 
work the poppies 
in shades of j'ellow 
and orange, keep- 
ing the leaves in 
tones of brownish 
green. The honey- 
comb stitch should 
be made in shades 
of green like the 
centerpiece of our 
lesson, but the 
scallops should be 
in green and or- 
ange shades. 

Other Uses for the 
Stitches 

The uses of Ken- 
sington stitch are 
infinite. It is used 
on the really elegant 
sofa pillows, on mag- 
nificent screens, por- 
t ieres. bedspreads, 
table covers and scarfs, and on all those beautiful pieces which are 
considered wonderful enough to tind a place in the great museums of 
the world, .\fter \ou have learned how to work the popp>' center- 
piece, you can work any of these things, no matter how wonderful 
and elaborate they may be. 

Other Uses for the Design 

A third of this design ma)- be placed across the lower right hand 
corner of an oblong sofa pillow, with splendid effect. The three 
poppy sprays, placed side by side, would be a novelty on a scarf end. 
One-third of the design, with the po[)pies in the center, would be 
charming on a wall pocket. The full blown poppy alone might be 
repeated in stiff, quaint fashion for the border of a tablecloth, and 
the spray could be used on each side of a loveI\' embroidered scrap- 
basket. 

The Perforated Pattern 

The pattern for the poppy between-meals centeqiiece will be 
found on Perforated Sheet No. 3 The design is Xo. 9. One-third 
of the design is given, and the pattern must be stam[)ed three times 
to give the complete circle. 



Page Twenty 



() N 



T E N 



An Embroidered Lingerie Waist 

Beautiful Grape Design Done 
in Wallachian Embroidery 

NEEDLEWORKERS of America should be very grateful to the women of Wallachia, 
who developed the beautiful Wallachian embroidery which is so simple and takes so 
little time to make, and yet is so wonderfully effective. I often wonder how we managed 
before it came to our shores, but then in those days hand-embroidered waists were not so 
necessary as they are now. 

Not all patterns can be worked in Wallachian embroidery. The design must be some- 
thing in which the stitches can be worked in just the right length, or the whole effect would 
be spoiled. 



Lesson X 

Everybody who has ever had any experience with Walla- 
chian embroidery knows that there is nothing like the grape 
TVip Rpfl t'f 1 design in beauty, and of all the grape designs 
. that have been used I have never seen any so 

Grape Design pretty as ours. It has just the right width, 
tapering at the shoulders, with its slim leaves, and with the 
garlanded leaves at the sides, bringing the big center bunch of 
grapes into relief. We surely could not find anything more fetch- 
ing and lovely for our waist, were we to search the day through. 

n -n ii Wallachian embroidery is, as many of 

Coarse Button- , .u- i\ u ;. 

you know, nothmg but coarse button- 

noling holing applied to embroidered designs. 

With a waist material of fine texture, the contrast between the 
fabric and the embroidery stands out strikingly, producing a 
handsome, showy effect. A medium sized mercerized cotton 
should be used to do the work. Have it coarse rather than fine, 
but do not have it so coarse that it will tear the material. 

A grape design in Wallachian embroidery is not only the love- 
liest to select, but it offers the opportunity to make circles in 
buttonholing, which is one of the most important points of 
Wallachian work. 

When making them, one of two methods may 
be employed. By one method a hole is 
punched in the center, then the buttonhole 
stitches taken through that hole to the edge. Of course 
the buttonholed edge is on the outside and not in the 

hole. If this method is 
adopted you really 
have a ring of Walla- 
chian embroidery 
around an eyelet and, 
where an open effect is 
desired, this way is 
very pretty. One thing 
is certain, it is bv far 



Wallachian 
Circles 




the easier way to work 
a circle, for when once 
the hole is punched 
there is no doubt re- 
garding the e.xact center 
of the circle, and the 
only point to watch is 
the length of the stitches, 
which must not be 
drawn tighter at one 
side than the other. 
The stitches must, of 
course, be close at the 
edge and overlapping at 
the center. 

The second way to 
work the circle is to 
have an imaginary ring 
at the center of the cir- 
cle, a ring not more than 
a sixteenth of an inch in diameter. The stitches must be taken 

/-!• 1 -iTr-it. 4. from this ring to the edge of the circle, and 

Circle Without .° ., ^ ?. ■ wu • i * 

you can easily see that it is not the simplest 

an liyelet thing in the world to keep both the stitches 

and the center ring regular. That is why I prefer the eyelet center. 

The leaves in the waist of our lesson are done in shadow work, 

and I am going to tell you about that later. But just now I 

should like to tell you how to work the leaves, if you wish them 

in Wallachian embroidery. For the leaves of this work are 

begun altogether differently from all other kinds of embroidery. 

Leaf in Wallachian ^o do a leaf in Wallachian embroid- 
ery.begin to workat oneendoi the leaf, 
Embroidery ^jgj^^ „gj.j {^ t^^ gje^., -pake the but- 

tonhole stitches from the center vein to the edge, and gradually 
slant them, so that the stitch is higher at the buttonholed edge 
than at the center vein. When the top point of the leaf is reached 
you must swing around it just as you did around the circles for 




O N 



N 



Page T \v e n t y - o iN e 



the grapes, spreading the stitches somewhat at the edge, and at 
the center putting them practically in one hole. In Wallachian 
embroidery, you know, it does not matter if the material 
does show between the stitches, and that is one of the things 
which make it so easy. 

(J . After you have swung around the outer cud 

of the leaf you must work down the other 

Outline Stitch ^jjg^ j^^j j^p^p ^^^.j. ^-^^ stitches gradually 

straighter, so that they cross the leaf when the stem is 

reached, just as do those on the 

opposite side. Keep the center 

vein of the leaf as straight as 

possible, for it is not worked, 

and all irregularities in the 

buttonhole stitches will show 

and have a bad effect. 

The stems in Wallachian em- 
broidery may be done in out- 
line stitch, and usually are so 
done. Sometimes they are 
worked over and over a pad- 
ding thread as we learned in 
our lesson on eyelet work, but 
it seems to me the plain out- 
line stitch is more suitable for 
this kind of work. 

Some of you may prefer to 
do the leaves in shadow work 
like the waist we are copying, 
and if you do, you must be 
sure that the lawn or linen 
used for waist is very sheer. 
Otherwise the shadow effect 
will all be lost, showing only 
tiny front stitches. 

Shadow Shadow work is nothing but cat stitching worked 
on the wrong side, giving through the sheer 
material the effect of a shadow. For this work 
it is better to use a finer cotton than for the Wallachian 
embroidery. Begin at the point of the leaf and cat stitch 
to the vein, taking the tiny stitches through to the 
right side on the two side-edges of the leaf. When the center 
vein is reached, work down one side, then down the other 
side. Or, if the leaf is a very narrow one, the cat stitches 
may be taken the entire way across down its whole 
length, then the center vein put in with outline stitch 
worked on the right side. 

On the right side nothing appears but 
the center vein in outline stitch, the 
shadowy cat stitches at each side, and on the edges of the leaf 
the tiny stitches worked through in making the cat stitches. 
It is obvious, therefore, that the latter should be kept regular, 
with the idea of having the tiny front stitches evenly spaced 
and of the same size. 

r>„i„ t We have said nothing about the color used 

Color tor . , . , , . , , ..... 

. m domg the embroiderv. for ordmarilv it 

Embroidery ^^.^^y ^f course, be white. ISIost girls 
would work it with that, yet, if carefully chosen, there is noth- 
ing lovelier than delicate tints for both Wallachian and shadow 
wcirk. The original Wallachian embroidery was made entirely 



Green for 



Shadow Stitches 



in color, and it was only after the .Xmerican girl adopted it for 
her own use that white was used. 

Take our beautiful grape design, for in- 
stance. The shadow leaves need not be 
Shadow Work ^^.^j^g^ j^^t ^jgj^^ ^^ worked with a green that 
was so delicate it barely suggested the color. But the effect would 
be there, the suggestion of real leaves that no amount of white 
could give. There would be a softness and a delicate beauty 
entirely unsuspected. The design worked all in Wallachian 
embroidery on a gray-toned 
Arabian linen might be de- 
veloped in russet brown with 
splendid elTect. 

Shadow Work ^ '^ 'i'' ";^- 

w I > r k , 1 n 

in Color ^^,,j^,, ^,,g 

leaves on the waist are done, 
is, unlike Wallachian embroid- 
ery, in its latest development 
more frequently made in color 
than in white. Better results, 
daintier effects, are produced 
when delicate colors gleam 
through the sheer material. 
White has a hardness that 
not always is pretty, although 
there are occasions upon 
which it must be used, as 
in the case of the design 
worked on the waist of a 
lingerie gown. But lawns of 
delicate tints with shadow 
embroidery of equally dainty 
colors arc fit for a queen's 
use. 
Other Uses for Wallachian Embroidery 

Wallachian embroidery is used on ccnter|)ieces both colored and 
white, on work bags, waists, underwear, linen gowns and hats, baby 
sandals, jackets and shawls, and on man}- other pieces where showy 
effects obtained with little work are desirable. It is done in both 
white and color. The original Wallachian embroidery was made in 
color on heavy colored materials, and this use of it is quite as popular 
as it ever was, particularl\- for table runners and between-meals 
centerpieces. 

Other Uses for the Design 

The Wallachian Rrapc design which we have for this lesson can be 
used on a great many other jiieces beside the waist, with very good 
elTect. The pattern might be used twice to form a circular design for 
a round centerpiece. This could be worked in shades of green and 
deep heliotrope on a natural-colored linen, for a between-meals 
centerpiece. The center bunch of grapes with the leaves around it 
could be worked on a pincushion, or a square handkerchief-case, and 
the side bunches of grapes could be straightened out to make the de- 
sign a border for a scarf. The leaf sprays of this design could be 
stamped separately, scattered here and there over a tcacloth, and 
worked in French embroidery. .\ library table cover of burlap could 
have the center motif of the design placed in each corner, the grapes 
worked in solid dots, and the leaves couched. The cover might be 
golden brown, with deep purplish grapes, and a darker brown for the 
leaves. 

The Perforated Pattern 

The Wallachian shirtwaist [faltern will be found on Perforated 
Sheet No. 2. The design is Xo ^. 




W.ilbcliijn Embroidery 



Page Twenty-two 



LESSON 



EVEN 



Letters for Household Linen 

Alphabets in Two Sizes to Mark 
Table Linen, Towels, and Bed Linen 

ONE of the best things about our stamping patterns is that they include these alphabets 
for marking household linens. I don't think there is a woman in the land who does not 
enjoy having her initials on every piece of her household linen, and of course she wants all 
the initials in the same style. An especially good alphabet has been designed for this book, 
in two sizes, so that sheets, pillow-cases, towels, napkins, and tablecloths can all be marked 
alike, which gives a distinctive air to the most humble linen outfit. The girl who is about 
to get married will take special delight in them, and will find the heaps of embroidered linen 
in her dower chest a lasting satisfaction 



Stitches Used 



Lesson XI 

For initials the satin stitch, which you 
learned how to make in our lesson on 
lor WorKing French embroidery, usually is used; but 
there are a great many other ways to work them. The W 
in the picture has the solid parts all filled in with French 
knots, and the lines done in outline stitch. This is a very 
quick and pretty way to work a letter. The H is in satin 
stitch, and shows just how the stitches should be put in. 
Another charming idea is to iill in the letter with the seed 
stitch, like the C in the picture, working the outlines with 
the whipped stem-stitch used in eyelet work. Parts of a letter 
might be worked in this way and parts in satin stitch, with 
excellent effect. 



Couching for 



Couching is a pretty way to work letters on 
linens for everyday use, and I am sure you 
Everyday Use will find it very useful for this purpose. But 
be sure to put the couching stitches in very closely together, to 
give the substantiality that is necessary because of the many 
trips to the laundry. A pretty idea is to use a heavy strand of 
white embroidery lustre, catching it down with small stitches of 
red, or blue, or green, or even yellow embroidery cotton. The 
effect is high class in spite of the little work, and it can be still 
further improved with a French knot of the color placed 
here and there, at the end of a scroll or in some other spot where 
it seems to be appropriate. 

Outlined Edges ^ letter partly worked in plain satin 
° stitch and partly in seed stitch has a 

handsome effect, and is not difficult to do. The solid part of the 
letter is divided and one half embroidered each way. No out- 
lining separates them excepting when the novice, finding her 
stitches irregular at the edges, works an outlining all around to 
straighten them. This may be done, too, in the case of letters 
worked entirely in satin stitch. 



The embroidered chain stitch, that we used in the border of 
the poppy centerpiece, is good for letters, too. Everyday cen- 
terpieces and doyleys marked in red with this stitch have a good 
effect that requires but a few minutes to produce it. The 
featherstitch may be used in the same way, but it should be 
made of white cotton rather than colored. It can be combined 
with outlining, making the thicker parts of the letter with 
featherstitching, and the single lines in outlining. 
Tntprf-wined Intertwined monograms are used a great deal 
just now, and we can make as many of them as 
Monograms ^.^ jjj^g ^.■^^^^ py,. alphabets, merely by stamping 
one letter partly over the other. Be sure that the letters are 
perfectly even top and bottom, and experiment a little with 
the stamping before you put the letters on the linen, to 
make positive that you are overlapping the letters just as 
they should be. 

In these monograms all the letters usually are worked alike, 
in satin stitch. But three different stitches may be used in 
working the three letters, and this frequently brings them out 

o • T i more distinctly, especially if the letters are 

Securing Inter- i, ^ i r V i ■ i 

, „ somewhat alike. In working be sure to 

twined Effects ^.^j^^ ^^^ stitches that cross another letter 
in such a way that the intertwined effect is preserved. For 
you understand, I know, that the entire intertwined effect de- 
pends solely on these stitches, and that is whj' it can be pro- 
duced with our alphabets. 

TT „ T?~ There is a little point I should like to 

Use an Em- . r, ^ /u i ■ i .u ^ 

give you about the working, and that 
broioery King jg ^^ ^^g ^^ embroidery ring, being sure 
that the linen is stretched tight in it. It must be as tight as 
a drumhead, and if it is not, wind the lower ring with tape, 
to give the extra fulness that is needed. 

Now I am sure you will want to know just what is con- 
sidered good style in placing the letters on the different pieces, 
so let us talk a little about that. 



S S O N 



EVEN 



Page Twenty-three 



T>i »• „ 4.U To begin with tablecloths, for somehow we 
Placing the , " , , , ,- 

always want to know about them hrst, either 
Inciters Qj^p initial or three may be used. Three is 

preferable, for a broad, squatty shape seems to be better than 
the long slimness of one letter. The placing of the letters is 
a matter of choice. They may be placed at either end of the 
tablecloth, or else at the center of each of the long sides. 
They must be put about eleven inches above the edge of the 
table, which gives them a position where they will remain 
uncovered during the meal. Use the letters of the larger 
sized alphabet for the tablecloth, and by all means intertwine 
three initials, if you wish, particularly if you use them at the 
sides of the tablecloth. Placed in that way and worked in 
satin stitch they are as lovely as anything heart could wish. 

Marking Table- ';^^ the napkins 30U will want to use 

the smaller letters. One initial is better 
Cloths and Napkins t[,^„ j^ree, excepting for the large- 
sized dinner napkins, and it should be placed diagonally across 
the corner, in such a position that it will come in the exact center 



the length and the center of the front of the roll. Space them 
quite far apart, to give the suggestion of the shape of the roll. 

Initialing Towels Excepting for the fact that towels are 
° marked in the center of the width above 

the hem, there is no set rule for them. Use one letter 
or three, just as you like, and either in the large or the small 
size. This is a matter of choice, and, indeed, depends a great 
deal on the size of the towel. In most cases, I think you will 
find it more appropriate to use the large letters. 

You want to be sure, too, to mark all your square doyleys 
and centerpieces, and the scarfs for dressing tables and service 
table. The latter should have three of the small initials placed 
at the center of the width above each of the end borders, and 
the square centerpieces and doyleys should have one or 
three initials, according to the size, placed diagonally across 
one corner, just above the hemstitched border. Three initials, 
placed on a straight line, with the center letter about four inches 
from the hem, would be the proper method of marking a round 
centerpiece that was plain excepting for the scalloped edge. 







of the square when the napkin is folded. This is the usual 
way, but if you wish to be real "classy," you will work three 
letters diagonally across the center of the napkin. If you do 
that, the napkin must be folded in three each way when it is 
ironed, to make the letters come in the center of the outside 
square. In working towels the satin stitch is best, particularly 
for those of huckabuck. a material which needs the severity of 
this plain stitch to contrast properly with it. A fancy stitch 
would be lost entirely in the weave of the material, and the 
work on it wasted. 

'^hppt"! and ^lark the sheets with the large letters, and 

use three initials. Place them about two 

Pillow-cases jj^^-h^.g 3,^^^.^, ^^^, ^^.^ ^^.j^^ ^^^ 1^^^,^.^ ^^g^ 

of the letter toward the hem, so that when the sheet is turned 
down, a person standing at the foot of the bed will be able to 
read the initials. Pillow-cases should be marked in the same 
way, with three initials above the center of the hem. although 
for them the smaller letters must be used. One initial alone 
can be taken, but it is not nearly so pretty as three. 

Now, about initials for the bolster roll — or do you call it 
the roly-poly, as so many do? In any event, for it three of 
the large letters must be used, placing them in the center of 



Working ^^ haven't said a word about embroidery ma- 
Materials '^"^Is to be used in working letters, but I am 
sure you understand how important it is not to 
have the working thread too coarse. The padding thread 
may be quite coarse, and for it a soft cotton is best, some- 
thing that will thicken and fill in without a great amount of 
stitches. But for the satin stitches take as fine a thread as 
possible. In fact, the finer the thread the easier you will 
find it to turn the curves with smoothness. 

Whether mercerized or flat-finished cotton is best is en- 
tirely a matter of taste, although I must confess that mer- 
cerized cottons arc used more and more each day. 
Other Uses for the Initials 

Of course there are lots of other uses for these initials, and I am 
sure you will find them very handy and useful in all \our work, 
particularly when you are making gifts. Initials used in the center 
of a lingerie pincushion would add much to its beauty, and give it 
a personal air that would be particularly acceptable to the recipient. 
For this you would, of course, use the small size. Then the initials 
could be used to mark laundry bags and shoe bags and ever.\- other 
kind of a bag, handkerchief and glove cases, necktie cases, and the 
hundred and one things that the college boy and girl need. For 
most of these purposes the letters could be worked in outline stitch, 
in some color to contrast with the material on which it was worked. 



Page Twenty-four 



SON 



T W 



V 



Feather and Kindred Stitches 

Decorative Fancy Stitches 
That are Easy to Make 

BEFORE closing the last page of this book we must have a little talk about feather and 
kindred fancy stitches. For while the famous workers of the world would not call them 
true embroideries, they are the most useful stitches one could possibly know to give a distinctive 
air to a dress or a negligee gown that would otherwise be too plain; or to add to the beauty 
of the children's clothes and the baby's layette. So it is wise for us all to learn those lovely, 
quickly-made bits of adornment. 




Featherstitch 



Lesson XII 

The featherstitch, surely, is the most valu- 
able. It is such a simple little thing, so 
easily made. It is begun at the most extreme point, and 
worked toward you. It is nothing but buttonholing, if the 
truth were told, one slanting stitch taken at one side and one 
at the other, alternately. Simple as it is, there is one impor- 
tant point about featherstitching which many persons ignore, 
and that is that it loses its entire beauty if it is not worked 
with small stitches taken close together. 
. „ . Another effective stitch is the Mexican stitch 

in our illustration. This can be used to join 
otltCQ j^yQ pieces of material, as fagoting is so fre- 

quently employed, but this stitch is newer and different, and 
I like it better. It isn't necessary to use it always for a joining 
stitch. It looks just as pretty when it is worked on top of the 
material as a decorative band. 

This is the way to work the Mexican stitch: Take a stitch 
about a sixteenth of an inch long on one edge, then cross 
straight over and take a stitch of the same length on the 
other edge. Cross back and forth like this until three straight 
lines are laid in, then carry the fourth line to the center of the 
space, and work four buttonhole stitches over the three threads. 
Finish the fourth thread, then begin all over again, catching 
the threads together with every fourth thread. 



Border of Lazy- '^^^ lazy-daisy loop, which you learned in 
. ^ working the mignonette centerpiece, is used 

Daisy Loops j,^ ^^^^ jjm^ border in our illustration, which 
is worked with three loops repeated over and over again. 

A slanting buttonhole stitch, w-orked like the featherstitch 
but with all the stitches taken on one side, is a pretty stitch 
to use in hemming flannel for baby's use. Shawls and jackets 
finished in this way are as lovely as those that have a great 
deal more energy spent upon them. 

ThpDottpH 'Rriar "^^^ "^^^ stitch is the dotted-briar 
stitch. This is something different, and 
StitchlsaNoyelty jg particularly good to be used on the 
children's dresses. It is made much like featherstitch, but 
instead of making one buttonhole stitch each time, four but- 
tonhole stitches are worked close together, to produce the 
dot. Then the thread is crossed to the other side, with a 
stitch that is much longer and rather more slanting than 
in featherstitching. 

nu ■ J n t. The chained outhne stitch is simple and 
Cnainea (Jut- . , . , . , , , . *^ -. 

useful m laymg pleats or hemmmg. You 
line btltcn learned how to make the ordinary chain 

stitch. This stitch is worked with one chain-stitch loop and 
one outline stitch, alternately. The triple-briar stitch is 
equally simple, and is worked hke the dotted-briar stitch, 
but has only three buttonhole stitches in each cluster. 




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